Have you settled on one brand/model or are you still searching?
I’m still undecided. Just when I think I’ve discarded one harp I pick it up one day and think ‘this is pretty good’.
Old school players would probably say just pick it up the harp and play the darn thing!. I don’t know for sure but I think Adam just sticks with his OOTB Marine Bands and if he gets a good one then great if not he’s just got to work a bit harder?
If you play more than one music genre (like I do) then maybe one harp is not going to fit every bill.
My favourites in no particular order (though the Harpmaster is a great all rounder)..
Suzuki Harpmaster for everything Sound/Comfort/tuning mellow with an edge Hohner Special 20 almost as good as above. Hohner Golden Melody – I don’t mind the ET for melodies. A very distinctive sound and full length covers. Hohner Marine Band – As soon as I pick this up the tone just grabs me but not a great all rounder due to tuning and unsealed comb drawback. Hohner MBD as above but more comfortable + Sealed comb Suzuki Manji- Only got one and it needed work but this is a seriously loud harp with a distinctive tone – almost too wild! Seydel 1847 – again not an all rounder but nice edgy tone and stable comb + stainless steel reeds for longevity? The slightly larger holes and hole spacing take a little getting used to. Seydel Session Steel. I like the full length cover plates, tone + stainless steel reeds for longevity? The slightly larger holes and hole spacing take a little getting used to. Hohner Crossover – Was allowed to try one in a store and it sounded pretty good. Suzuki Hammond- No adverse reaction to the metal Comb and a warmer darker tone that is nice + black anodised full length covers. Suzuki Promaster valved. Edgier tone which is nice, and full length covers. Tore off the valves but left hole 1 valve which allows a note lower than blow 1. Slight reaction with the metal comb.
Any of the above harps I can like on any given day although I’m slightly favouring the plastic comb harps at present but not one of them ticks all the boxes.
What’s your experience? Have you found your dream harp?
Still searching. I play blues, rock, and a bit of contemporary as well.
My last purchase was a Manji. While I did not like the OOTB setup or QC of the harp, it is one of my favourites once I got it setup. I am a bit torn though, because I prefer the repairability of riveted reeds. I've been messing around with PowerBender tuning too and don't have all the tools for replacing reeds with screws (I like to swap 9and 10 reeds and still sometimes break a few and need to replace)
Wood combs are all out for me. Don't care for them.
Special 20 is the only harp that consistently breaks, so I don't buy those anymore.
Lee Oskars have been great but squeal on overblows (waxing has helped a lot).
Pre-MS Pro Harp is an awesome little harp.
Promaster is great, but didn't get the reed plate upgrade that the Manji and Olive got (long-slots).
I'd like to try a Seydel yet, but based there is a good chance that I will convert to Manjis.
Here's a theory: once you find a good harp to settle on, you get used to it. Then, if you switch to a different harp, its just different enough that you have to think about some of your finer techniques. In adjusting to the new harp, you improve your technique. Switching harps gets you out of your comfort zone, and helps you improve. (Note: we are talking good quality harps. Going from a Suzuki Promaster to a Crossover will help you. Going from a Promaster to a Piedmont would just be frustrating.)
I'm very much settled. Classic Marine band for acoustic and sp20 for amplified.
I like the sound and shape (tuning/materials/design) For acoustic I think the open sides on cover plates of MB, and perhaps the wooden comb and brass reeds, in conjunction with the tuning, just gives me the spot on sound and feel. For amplified the closed sides of sp20 and the shape gives me a great tight cup possibility, feel and spot on sound.
I might do some light customizations like gapping, sanding combs and/or draw plate, opening up back and setting up 6 OB. But it's all pretty much on a "need-to-adjust-basis"- Meaning if it ain't broke why fix it.
The MB deluxe is also a great harp BUT I have issues with the comb. Sometimes the teeth are just rounded too much for my taste. I enjoy a very slight rounding but I'd rather have sharp corners than too rounded, too rounded just makes it harder to play with presicion for me.
Other harps have too big holes, too much spacing between holes, wrong tuning, too big harp, and so on.
There is no such thing as a perfect harp for everyone and not even a perfect harp for me but the mb and sp20 are as close at it gets for me, and they're great raw material for personal customizations i guess.
Good topic. I seem to change my mind all the time, but seem to keep coming back to either the golden melody or special 20. I think if the golden melody came in the MB compromise tuning I would be done searching; but in the mean time I've become very found of the seydel session steel. (p.s. I need to get better at tuning)
I think Philosofy is dead on. We get used to a certain harp and any slight differences seem like faults. I really love full covers; for both the sound and mostly the ergonomics.
I recommend to always keep trying other harps and never just settle or use one type of harp. They all have different properties. Serious guitar players rarely have one guitar because they all have a slightly different sound. Same goes for harps. Fortunately we use an instrument that allows having multiple ones (in the same key) to be easily achieved.
However, it is important to understand that there is not a magic harp out there. I sometimes joke that when I got my first custom, (from a very reputable customizer) that I still didn't sound like little Walter or either Sonny Boy; so I had to return it. ;-)
The range of choices is so wide, and the quality so high nowadays, I really can't imagine choosing any 1 favorite. There has never been a better time to be a harmonica player.
In Tulsa, last month, Sugar Blue was going to town, doing that Sugar Blue thing, on a MB365. Hasn't that model been around, basically unchanged for about 80 years? He don't need no stinkin' laser tuned, welded stainless, fossfer reeds in a ABS recession comb.
I just play marine bands. I have sp20s too. I can't remember how long ago I last bought a different type because I thought it might be better...at least 2 years, maybe 3. I like them because they're easy to make play well and easy to fix, reeds are available. And they're priced ok. I also pick them up used and broken and restore them. Sometimes I sell them or give them away. Can't beat them for my money.
Thanks for all your interesting and informed comments.
@Martin. Why does the Tombo Ultimo work for you. I've never tried one. Todd Parrott did a video review of one some time ago and was pretty impressed but not enough to buy any more as I understand.
I know I listed quite a few harps as ones I have enjoyed playing to a greater or lesser degree over time but just to turn it on it's head I started to think which ones I probably wouldn't buy again and they are.
The Promaster first in spite of the tone which is nice but has a metal comb.
The Hammond:- as above but this is a very nice harp.
The Manji. Again a very fine harp (once adjusted-my only one was not great OOTB)It's a bit full on for me though I think it would be great cutting through in a band.
The Marine Band. This has a magical undefinable tone, comfort not great though and if I'm only going to do minimal adjustments OOTB, the comb will be an issue. So maybe I won't buy more of these.
1847 and Session Steels They are both strong harps with good tone but a little too big in the mouth to be ideal. So maybe I won't buy more of these.
So that leaves the Harpmaster which I really like for comfort, tone and ease of play. I've got quite a few of these and haven't had a bad one yet.
The Special 20 which is quite similar to the Harpmaster but hasn't had quite as good OOTB setup on all of them.
The Golden Melody. I do like this harp something about the tone and feel and the ET is good for melodies but the comb is pants. They haven't been bad OOTB although my E & F are a bit tight.
So it looks like my next OOTB purchase will be Harpmaster, Sp20 or Golden Melody.
Another spanner in the works is that like cars if you get a model that is trouble it puts you off trying another one and we can all get unlucky when trying a new harp which everyone raves about and it turns out to be a dud.
Few observations from using MBs - let me know if you think the same.
-The classic Marine band sharp comb is REALLY comfy and "intimate" for TB stuff. It digs in the tongue and gets an awesome seal right away unlike a Crossover where an octave might slip over the rounded slippery surface every now and then
- After the comb swells a bit, the harp sounds even better and extra tight. Desired effect ?
Last Edited by Ofir Levi on Apr 09, 2016 3:22 AM
I have been using the Suzuki Bluesmaster for a while now. I really like them for comfort, hole spacing and sound. The Harpmaster is very good also, but I find them a bit small to comfortably get my top lip and finger on.
I also really like the Hohner Crossover and if money wasn't an issue I would consider using them exclusively, although they do get a bit uncomfortable to hold after a while.
As for what I wouldn't buy again, I've had two Lee Oskars and both have been duds. I know it could just be bad luck but I'm not going to take the chance when my experiences with the other harps I mentioned have been good.
I've tried most models over the years including a few customs, and its all too easy to waste a lot of money in that search for the make and model that matches your mental image of the perfect harp, in my case that's one that's comfortable in the mouth, sounds great acoustically or amplified, bends with the lightest breath, and doesn't require me to re-mortgage my house to afford a set.
For years I stuck with the Special 20 because they ticked most of the above boxes albeit I find them a little too dark for my liking when playing amplified.
Recently I've settled on Crossovers which play really well out of the box and have a brighter sound which helps me cut through the band a bit more. I also discovered that the cover plates from the Hohner Rocket fit perfectly onto the Crossover which I find gives me the comfort of a S20 without compromising the tone of the Crossover.
However, with the exception of the real budget end toy harps, any make and model will sound great in the right hands. Looking back I wish I'd spent more time focusing on good acoustic technique than worrying what harp I should try next. I'd probably be a wealthier man and a better player right now if I had.
@Grey Owl: The Ultimos have two very attractive, "rounded", features: the sound and the comb. They are also, in my experience, OB friendly OOTB. I have a very hard time fiddling with my harps, so that´s appreciated. They are a bit too expensive for me; and the reed endurance is quite comparable to other harmonicas, i.e. unsatisfying. That they look nice is unimportant but ... nice.
I started with Marine Bands 30 years ago, but settled on Special 20's and have stuck with them since. Perfect for tongue blocking and they last. More recently, I have tried the crossover and Marine Band Deluxe and have settled on the MBD as a great sounding harp. I also like the comb better than a Crossover but have one that has a custom comb that is great. Just when I thought I was going to move away from the Special 20, I put a Blue Moon comb on it and it a different harp and is just outstanding. It was a 49$ investment but worth the money. It's not that the SP20 comb is leaky, but the constuction of the Blue Moon comb really lends lends itself to TBing. The holes are smaller, but more importantly, I use way less tongue pressure achieving the blocks on the harp. Going from blocking 2 to three holes is a snap and very clean. Worth trying out.
Aw C'mon play fair guys, Iv'e just narrowed it down to three then you throw a Crossover etc., into the mix! Settling on one is turning out to be:-
Joking aside is the Crossover easier to hold than the MB (which I find a tad small) and does it sound (like the Manji) almost too brash if you know what I mean and is it melody friendly or is it it tuned for sweet chords? Thanks.
Martin Thanks for that I have found them in stock at Eagle Music in the UK (Db&Eb only) for £30 (UK POUNDS) + Delivery.
I've got MB 1896 and Rockets. I almost always play the MBs, simply because of how they sound, how they feel, and (this is going to be an intrinsic aspect for everyone) how they make me feel when I play them.
I switch up with the Rockets pretty often when practicing. The wider holes, and the difference in size, weight and shape (in comparison to the MB) force me to concentrate and focus more intently on what I'm doing, to not get sloppy. For whatever reason - whether real or imagined - I feel I play much more precisely on the MB after playing Rockets for a while.
I generally gap to my own preferences, and flat-sand the draw plates. It's a bit of a pain on the MB, but not that big a pain. True, you have to take your time (and make sure not to lose any nails) but I think the results are worth it.
Last Edited by Rontana on Apr 09, 2016 8:51 AM
Ah yeah when I say 'marine band' I mean all the marine bands. I don't distinguish between them, and hardly even think of the sp20 as its own type. I only have one GM and I'm tempted to just lump that in with the mb category..hohner handmades
I play all my harps. Harps are like screwdrivers in your toolbox. You use whichever fits the bill.
I would say my top favorite models are:
Manji (preferably with custom comb)
Marine Band (custom comb not quite as necessary as manji,but still prefered.)
Seydel Session Steel
I think the Manji is one of the best ootb harps out there. Having said that, all harps need to be opened up and tweeked a little. But the manji being welded seems to require less work to get the reed shape the way i want it.
Manji has its own unique sound and really feels good to play. Covers are great and the harp just feels like a quality instrument. But the reeds are a bit heavier so they tend to not play well for me if im playing very quietly. (Like in the house when people are sleeping for example.) So i use them to rip on. Not too hard, im a relatively light player. But just with more attack maybe is a better description. Also when you hit a bend you can really grab it hard. I like that.
Marine Band also has its own unique sound. Plays very well quietly... and loud for that matter. The chords sound much better so i use them for anything that has a more chorded rythm. Or if i just feel like playing a MB..lol. Nothing sounds quite like a MB. I also find i can maneuver around on them better. So it's easier to learn faster trickier things on the MB, i feel. The crossover tuning i actually like alot also and the covers are much nicer. Mbd is great. But being that i tend to put custom combs on them all, i prefer the 1896 converted.
Session Steel I just love the comb on them and the covers. So big and comfortable. Like a big puffy beanbag chair. All the corners are soft and rounded. the plastic comb is soft and slick, unlike other recessed combs. The covers are easy to hold and, because they have no holes in the sides, easy to cup and make very quiet. They also sound REALLY good amped. I know some people have issue with the larger holes, but i actually have an issue with the smaller holes of the sp20. Now that ive gotten used to the SS the sp20 feels crowded and harder to play. The tuning is also nice its a good in between tuning.
I do like the sp20. It's a solid harp.
1847 is a great harp. They play very well also, but they are a bit pricey.
I have yet to try a delta frost I'm very interested to check one of them out.
I also would like to try a rocket. And a rocket comb on a sp 20. (Rons has the combs cheap.)
Never tried a golden melody either. Ide like to give one a try.
Anyways this post is too long already so ... that's my general thoughts on the subject. 8^)>
Harps ... Gotta Play Em All. ----------
Last Edited by Killa_Hertz on Apr 12, 2016 10:32 AM
If we're talking the "pound-for-pound" harpweight champion, it has to be the Seydel Big Six. ---------- Marc Graci YouTube Channel
Last Edited by Mirco on Apr 10, 2016 10:52 AM
My first harp was a non name model, once I got into it I bought a standard Marine Band and have played them ever since, that was 10 years ago.
I have other the years though tweaked the set up. I currently play: MBD plates on an aftermarket comb, with MB Classic covers (I prefer the graphics and if you buy them direct from Hohner then they come without any bolt hols which means if you attach with bolts just at the front for the harp there is no holes at the back).
I flat sand the draw plate, do some gapping, open up the cover plates at the back. I tune the bottom 4 holes to JI to get nice chords and tune the rest of the holes to MB compromise tuning.
I have tried other harps over the years but as has been mentioned I think once you get used to a certain set up then other set ups feel unnatural and harder to play.
On a side note I'm currently in the process of switching my embouchure to full time tough blocking and I'm finding that I need to gap the reeds differently to when i was mostly lip pursing.
Other then blues I mostly play americana type stuff, some piedmont blues style stuff which for me requires a different approach than most other types of blues, I have also done sessions with singer song writers a rockabilly band. Personally I've fond that the humble MB (slightly modified :) – covers me for everything I need to do.
Killa :- 'I play all my harps. Harps are like screwdrivers in your toolbox. You use whichever fits the bill.'
I like that.
Thanks for the detailed info on your harps btw.
I do like the Session Steels and have a few semi customs and they are loud (not in an unpleasant way)& responsive. They do feel different in the mouth but the more you play them the more natural they feel so that the MB's feel tiny and cramped by comparison when you play them:) I suppose in learning to tongue block after a lifetime of LP, the larger holes/spacing is a bit more of an issue for me at present. I asked for grey combs as pictured below. Do your session covers curl up slightly at the corners (not a fan of that).
I am already getting used to the harpmaster comb with session covers and reed plates. I do like these covers. They feel a bit weird being set back from the comb a little too far but on the plus side they are forcing me to put more of the harp in my mouth which is a good thing!
It would be worth trying one Golden Melody in a friendly key, they do have a unique sound and feel.
I've got to try a Big Six Mirco as I spend most of my time down there after all. The small four wouldn't be for me;)
Owl ... no i dont believe my Session covers curl at all. If they do, i never noticed. I got my first session steel a few months after i started playing. So I had sp20s Lee Oskars and Sessions. So i quickly got used to switching to different hole sizes. It only starts to get in the way if I play one model for to long.
At this point I'm about 60% LP / 40%TB.
But ill tell you what, when i first started trying to add more TB to my playing, I really found myself favoring the SS. The comb (to me) feels more comfortable for TB. The lee oskar comb is nice too, but im not a fan of the rest of it. Now that ive toughened up a bit I can play a Blues Harp TB with no issues. And thats probably the roughest comb out there.
I think i might Frankenstein my ProMaster too. Similar to yours. I got enough parts lying around to make up something cool.
Maybe you might try opening the holes in the reedplates. Then the covers could sit up right. Just a thought.
The 1847 covers on the SS sit that way. I liked it at first, but it was weird after a while. ----------
1847 (customized) w/ standard wood comb is the best diatonic I've played in my 45yr.s of blowing. Yes its a bit bigger - and I can see why that may not be the best fit for everyone. It's the 'Cadillac' of harps. The holes are cambered out of nice wood that doesn't swell. The tone is right on. I've gotten over three years on some of these without reeds blowing out. I may be playing a bit easier these days but still - That's a record for me.
Previous go-to was the Suzuki blues master. A really nice harp and priced nice, but not god for OB's and not in the same league quality wise as the 1847
Before that in the 80's, - Huang Star Performers
Started on MB's and played them all through the 70's
Current back up harps are Manji and Hammond - both very nice harps with distinct tones. Manii brighter, Hammond darker. ---------- http://noamsmusic.tumblr.com
I keep buying different types as I build up my kit....and I think overall at this stage the MB types are winning.....like some with self added bamboo combs, and my Ab Crossover is somehow my sweetest!
Rubes .. ah that makes sense. Bad luck of the draw i guess. I have 4 or 5 SS and they are all fine.
The 1847 is a great harp. But it's the only one that snags my mustache. It's very annoying. But for some reason the 1847 covers on the SS don't, but they sir back too far for my taste. ----------
Wow all 5 huh? That sucks. That's what my 1847s covers do. They have a little gap in the corners. They grab hairs like nobodys buisness. Wonder if i got bad ones.
The 1847 also snags hairs all along the front edge too. Really bad. Infact when i take it out of my seydel case it sometimes gets snaged on a loose fiber in the case. Pain in the butt. Especially for the most expensive ootb harp i have.
It's a shame cus they do play great.
I actually busted out one of my Blues Harps yesterday. I played it for over an hour. I couldn't put it down. Mostly because it's the only Eb harp i have and I was really diggin the sound of the Key. (Obviously I don't play that key much.) But they aren't so bad. With a custom comb they could really be a damn decent harp i suspect. ----------
It seems the challenge is there for all the manufacturers to raise their game. The trouble is the less discerning harp buyers probably far outnumber those who care about buying harps that tick most of the boxes.
We would no doubt bitch about the price they would charge for the perfect harp.
1847 Not quite working for me at the mo as one plate aligns well and the other slips back. I might try Killas suggestion of opening the holes in the reed plates.
Martin – I have several Tombo Ultimas that could easily pass for new (but are slightly used) that I would be happy to let you have at a good price. I would email you privately but I don’t see an email address on your profile. Send me an email if you are interested.
Harp Study - if you like the Golden Melody but not ET, there’s probably 20-30 guys on this site who can re-tune your GM’s to Compromise Temperament.
As for me, I play mostly Special 20’s, Manjis and Marine Bands.
---------- Tom Halchak www.BlueMoonHarmonicas.com
Last Edited by florida-trader on Apr 13, 2016 12:00 PM
Speaking of Retuning. I wish i had a double key of a manji. I'm dying to tune one to 19 Limit or a compromise and see how it sounds. 7 limit would be interesting aswell. But i dont want to give up the manji tuning.
Perhaps i could use my promaster plates and one of my stock manji combs i have lying around. Wonder if 1847 covers fit the promaster. Hmmm.
Without a doubt the grabbingest harp I ever played is the Solist Pro, but in that case it's all about the way they bend the tabs for the cover plate bolts. Way back then I probably was ready to adopt that model as my steady harp but that epilatory feature was a deal breaker. It's an ill wind though, that blows nobody good; at the time I was a racing cyclist and found the solist pro never goes blunt or clogs up.
I haven't declared a champion. I actually haven't found a harp I didn't like. I only buy decent quality harps. I also just expect to gap, flatten... any harp I add to my collection.
I like having a mix. I play three different tunings. I stick to Seydel: Favorite, Orchestra, Steel and Blues Session for my Zirk (circular) tuning. They all have the same thick feel. I think it helps my brain adjust to that tuning for playing gospel, jazz, pop...
I'm not a big fan of wood combs except for some vintage harps and I chop old MBs into a seven hole deal that I like to pack around. I seal wood combs with beetle juice.
Hi Kieron, thanks for interesting topic and special thanks for all the personal help given in the past to me with Beatles songs. I’m still working with Eleanor Rigby and Yesterday. I’m a new member of this Forum, joined this year, so my writing can be out of rules (maybe too long?). I’m not giving a comparison of different harps - only some personal remarks based on my 50 years playing experiences. Good players can maybe hear many differences in sound – I don’t usually. My favourite harp today is Lee Oscar by Tombo. If I compare it with Hohner Special 20 I can’t see or hear any difference but I buy the first one because of the box. I can connect the boxes together and keep my harps easily in good order. The key of the harp can easily be seen at end of the harp even in the dark club and on the other end is marked 2nd so beginner like me can say to the band where they should play. Key is also marked clearly on “holeside” so that you get the harp right way around in your mouth without trying where the lower notes are. I also prefer plastic body harps maybe for the following reason: When I started mid-sixties only wooden body Hohners where available in Finland in addition to the toys. One day I noticed that if I put my harp for few seconds in to the glass of water and shake the water out immediately, then the sound is very good indeed. Reason is unknown but good guess is that the quality of body was not always perfect and when the wood was dry some airflow happened between holes and elsewhere out of the holes. The wooden body, swollen due to water, prohibited all unnecessary airflows. Little by little this irrigate with water was habit before every important playing situation and finally a must because every time when harp was wet the reed plates separated more and more from the body. Finally the only way to get the harp working was to hammer the nails tight as possible (already rusted) and cook the harp few minutes in boiling water. Then the wood between holes came out so that sharp edges and corners were even one mm higher than the plates. But believe or not it really happened: no money buy a new one, agreed playing in a club with band, me playing Room to Move with nearly cooked F-harp like a devil – or exactly like a vampire with bloody harp and lips pleading - that was a real blues don’t you think. My best harp has been a 12-hole Hohner Echo Vamper key of A (red wooden body.) I don’t remember where and when I got it - maybe early seventies. Once I was playing it my head inside my mother’s hairdresser I heard a strange sound (note) never heard before. So I continued and this happened again. After a while I could play it easily when I wanted. I named it “pieni terssi” “small third” and it came out from 6th hole by blowing. It was very useful sound and nobody else could do the same in Finland. Now, after internet I know that it is called usually “overblow”. The only weak point with Echo Vamper was that it doesn’t fit into the Lee Oscar box. Good thinks are: All 12 holes are very easy to play, light breeze gives already loud sound and possible to play very loud and still the lover end reeds doesn’t touch the cover plates witch are far enough from reed plate. Easy to play one hole at time because of bigger size. Easy overblows and very easy bending by blowing of the high end notes. So I could easily pay 100 $ if I find one. I know that Marine Band 364/24 is similar but it is available only C, D, G not key of A. Seidel Schöne – very good overall harp, I have had two hand tuned ob optimized. In those the prize / quality ratio is maybe too high. I like slightly rounded wholes (makes also for beginner easier to play one hole at time) and durability (steel reeds) but in this age that is not so important – all harps will last my lifetime. The finishing is really good, no sharp edges anywhere. I use Seidel (D) in Modern Blues Harmonica Testimonial when playing Crossroads. I lost Seidel and bought Hohner Marine Band. Not at all happy with that. Reason: The reed plate is over the body so that sharp edge is most left hand part of the harp. Despite of that the corner is slightly rounded it is still sharp because of the groove (slot) for the cover plate. Now when playing the first hole, especially when blowing, the corner and left end of the harp is inside your mouth (lips), at least with my style of playing. Very often you have to move fast from the first hole to 4th hole (see crossroads). With Marine Band it is painful and so the old vampire time came in to my mind and you can’t put plaster inside your cheek or tongue. Last but not least I use still very old wooden body Hohner harp (Bb) when playing Sonny Terry like songs because of the soft sound I can’t get out of plastic harps, mara
Chaz. The Steels are pretty good, haven't had so much luck with the Manji's though. Pity as a lot of folk like them.
Mara. I think us harp players are meant to suffer! There does not seem to be the perfect harmonica yet as demonstrated by the comments on this topic. Your mention of the vamper gave me good and bad memories. This was the harp I learnt to play on, not the 12 holer but the 10 hole Echo Super Vamper which came in a blue carboard case. I had some good ones and bad ones but even the good ones went bad with the comb swelling problem. The water trick was a quick fix which made it more air tight but made the comb swell quicker and caused the tines to stick out and catch the lips as you mentioned. My general preference now is plastic comb harps, much easier to maintain and more comfortable to play and with decent tone. Here is an interesting article by Pat Missin concerning the Vampers
‘Up until the mid 1970s, the Hohner Marine Band was not available in Europe and Australasia. Instead, we had the Echo Super Vamper. This was in every way identical to the Marine Band, with the exception of the engraving on the upper coverplate. There was also a 12-hole version called simply the Echo Vamper and it was identical to the 12-hole Marine Band 364, except once again for a slightly different engraving on the upper cover. It is interesting to note that many European harp players believed that the reason American players sounded so good was because they could get this legendary harp, the Marine Band. Despite being reassured that the Echo Super Vamper was functionally identical, they believed that there was something special, almost magical about the Marine Band. In later years, a different rumour became established. Film of Rice Miller (Sonny Boy Williamson II) showed him playing 12-hole harps with the name "Echo Vamper" clearly visible (not surprising, as most his filmed performances were made in Europe and if he had needed to buy any new harps, he would have had to buy Echo Vampers instead of Marine Bands) and younger harps players began to believe that part of the secret of Sonny Boy's amazing tone was due to him playing these unavailable harps! Of course, the magic is in the player, not the instrument.’
I think that manjis seem to be more touchy when it comes to the reed shape and gap. I can take a marine band with horrible reed shapes, gap it real quick and it plays "ok". But a manji seems to need to be set right or you end up with airy or missing notes while your playing faster. I think the comb is also a huge contributor to this. It's Pretty awful. Not flat at all and the tines sit back into the harp. I hate that. But having said all that. The manji reeds are very close to prefect ootb. The reeds sit low in the slot and take much less work to get right, compared to marine bands and other harps.
But once you chuck the stock comb and get the reeds set right, it's a fantastic harp. And if you don't mind the tines sitting back like that, the sick comb can actually be flat sanded quite easily. Ive taken one that ive flattened and modded it to fit a marine band and it wasn't bad.
